Caughie, J. (2018) Filmography. In: Caughie, J., Griffiths, T. and Vélez- Serna, M. A. (eds.) Early Cinema in Scotland. Edinburgh University Press: Edinburgh, pp. 190-238. ISBN 9781474420341. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/166390/ Deposited on: 10 August 2018 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk CHAPTER 11 Filmography of Scottish-themed fction flms John Caughie This is intended as a comprehensive catalogue of Scottish-themed fction flms, produced in Scotland, England, Europe and the USA until 1927 and reviewed in the British and American trade press or on the Internet Movie Database (IMDb) or, on a few occasions, in local newspapers. There are a few criteria for being identifed as ‘Scottish-themed’: the flm is set (though not necessarily flmed), in whole or in part, in real or fctional Scotland; the flm has, in whole or in part, a signifcant Scottish story or draws on a Scottish story (the 1913 Annie Laurie is set in the American south, but draws on the Scottish song as a narrative link); a signifcant character is Scottish (Vitagraph’s The Wolf (1919) is set in a Canadian trapper camp, but the heroine’s ‘cruel father’, according to the Moving Picture World review, ‘typifes well the traditional Scottish male parent’). Thus flms may be wholly or partially Scottish, but the Scottish element is clearly identifed in press comment or reviews. That is to say, the identifcation of Scottishness – or, commonly, ‘Scotchness’ – draws on a trade defnition, and those flms are included which contain a Scottish element as a signifcant defning characteristic. In this way, the flmography points to the ways in which Scotland fgured as an imagined, and marketable, landscape imbued with meaning. On the basis of these criteria, the flmography suggests a list of 222 fction flms. In one or two places, the information is scant and I have relied on infer- ence: neither The Gypsy and the Laird nor Mary, Queen of Tots is identifed as Scottish-themed in the brief review, but I have inferred from the title a Scottish connection. In most cases, the Scottish element forms a major or signifcant item in the synopsis, comment or review. It is important to note that this is a period when flm criticism was not yet an established practice, and the trade comment is often concerned as much with the ways in which the flm is marketable as the ways in which it is a reliable depic- tion or an aesthetically achieved work. I have tried to identify the ways in which the flms are identifed as Scottish by quoting extensively from the CAUGHIE PRINT.indd 188 15/09/2017 16:30 filmography 189 trade press. In the UK, I have relied on The Bioscope (whose frst issue was in 1908, and is not digitised), and in the USA I have relied on Moving Picture World (which is digitised from 1907 to 1926) and Motion Picture News (which is digitised from 1913 to 1930).1 This has been supplemented by reference to IMDb and, occasionally, to local newspapers. I have also included such information about length, country of origin, production company, cast and crew as is available. For those who wish to pursue a flm in more detail, further information, including reviews, synopses and reports, is available at the ‘Early Film in Scotland’ website.2 It is worth pointing out that the flmography does not include flms that have a Scottish actor or a Scottish member of the production crew, and it does not include flms that are derived from the work of a Scottish author or producer but do not have s signifcant Scottish element. Thus, R.L. Stevenson’s Kidnapped (1917) and The White Circle (1920 – adapted from The Pavilion on the Links) are included because they retain signifcant Scottish elements, but The Bottle Imp (1917) or Treasure Island (1918 and 1920) are not. Neither Ivanhoe (1913) nor Peter Pan (1924) is included, despite their Scottish authors. Macbeth, Shakespeare’s ‘Scottish play’ is striking: it was adapted in ten versions in France, Germany, Italy, England and the USA, including a parody, The Real Thing At Last (1916) by J.M. Barrie. Of the 222 titles, thirteen were produced in Scotland by Scottish com- panies. The criteria, unfortunately, do not allow the inclusion of two sig- nifcant Scottish-produced flms identifed by Caroline Merz in her PhD thesis: The Unsleeping Eye and The Twilight Kingdom.3 These two flms, released in 1928 and 1929, were made by Alexander Macdonald, a Scottish explorer and author and Fellow of the Royal Geographical society, for what seems to have been an entirely Scottish company, Seven Seas Productions. While the story of their production is fascinating, however, they were set in Papua New Guinea and Australia, and do not seem to have had a Scottish theme. Of the thirteen flms catalogued here, only two, Rob Roy (United, 1911) and Football Daft (Broadway Cinema Production, 1921), seem to have had much distribution which went beyond the local, and there is reason to doubt that some of them were ever released at all. Caroline Merz has given a full and detailed account of the production context in Scotland, and is sympathetic to the challenges it posed and to the energy of those who attempted to step into the breach. The flmogra- phy, however, highlights the fact that, however much it was represented in European and American flm productions, it was very difcult for a small country like Scotland with a small domestic market and without the subsidies and tax incentives that accompanied the invention of the cultural CAUGHIE PRINT.indd 189 15/09/2017 16:30 190 john caughie industries in the 1980s, to sustain a stream of production that would allow it to lay claim in any consistent way to its own stories and mythologies. Notes 1. See Media History Digital Library, led by David Pierce and Eric Hoyt at http://mediahistoryproject.org/earlycinema/. 2. See ‘The Early Cinema in Scotland Research Project’ at http://earlycinema. gla.ac.uk. 3. Merz, ‘Why Not a Scots Hollywood?: Scottish Fiction Film Production in Scotland, 1911–1928’, 239–51. CAUGHIE PRINT.indd 190 15/09/2017 16:30 CAUGHIE PRINT.indd 191 Title Year Country of Length (ft) Production Director/ Actors Summary origin where company producer/ known writer Adventures of 1904 UK 300 Clarendon Percy Stow Scotsman tries to undress on beach without being seen. Sandy McGregor, The Adventures of Wee 1916 UK 175 Animated flm of comic adventures of Wee Rob Roy. Rob Roy, no. 1 [Available online at Moving Picture Archive (NLS)] All for the Sake of 1920 Scotland 1,405 Page/Harry Harry Lauder (w.) Harry Lauder, A shepherd vies for the attention of the fair Mary Mary (aka I Love a Lauder Efe Vallance and (a Scots bluebell) but is passed over for a rival Lassie) Productions local actors following an unfortunate incident with a bull. Filmed in Glenbranter, Argyllshire. [In National Film and Video Archive] All Scotch 1909 UK 380 London S. Wormald (d.) ‘A most humorous incident of a Scotch fgure being Cinematograph removed from outside a shop by some comic and Company humorous thieves, one of whom makes up to assume the fgure and take its place. The extraordinary instances and cunning method of thieving is most cleverly depicted, articles being stolen from all passers-by, even including a lady’s skirt. This flm possesses a powerful plot in addition to being the wittiest of witty pictures ever placed upon the market.’ The Bioscope Amorous Scotsman, 1909 UK 135 Empire Film ‘A Scotsman firts with a farmer’s fat cook.’ IMDb The Manufacturing Company Annie Laurie 1913 USA 971 Reliance Film Set in the US Civil War, the song becomes the link Company for a story of a rich man, favoured by the father, and a poor man, favoured by the young girl. The song recurs, and softens the father’s heart. 15/09/2017 16:30 CAUGHIE PRINT.indd 192 Title Year Country of Length (ft) Production Director/ Actors Summary origin where company producer/ known writer Annie Laurie 1916 UK 4,000 Hepworth Cecil Hepworth Alma Taylor, Not obviously Scottish in setting, though it features (d.), Alma Stewart Rome, a Scottish doctor. A tale of a rural schoolmistress Taylor (w.) Lionelle Howard loved in turn by the young Squire’s nephew and the older Squire. Annie remains true to the Squire. Annie Laurie 1927 USA 7,000 Metro-Goldwyn- John S. Lilian Gish, ‘Stirring story of a feud between rival Scottish clans, Mayer Robertson (d.) Norman Kerry of which Annie Laurie is made the heroine, with the massacre of Glencoe as the climax. Though no pretension is made to historical accuracy, this is a stirring story of love and treachery, handsomely mounted amidst beautiful natural scenery.’ The Bioscope At the Torrent’s 1915 UK 3,444 British & H.O. Martinek Percy Moran, Ivy ‘In Scotland a gamekeeper’s daughter saves her lover Mercy Colonial (d.) Montford, A.V. when a poacher throws him into a river.’ IMDb ‘The Kinematograph Bramble scenery is beautiful and the dresses are correct.’ The Company Bioscope Auld Lang Syne 1911 USA 1,824 Vitagraph Laurence Maurice Costello, Two farmer lads, Tammas and Geordie, are frm Trimble (d.) Florence Turner, friends and both in love with Jenny. Jenny chooses Harry T. Morey Tammas, and Geordie is estranged.